View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by AIR Universita degli studi di Milano From the Archive to the Field: New Research on Albanian Epic Songs Zymer U. Neziri and Nicola Scaldaferri [1] This essay aims primarily to point out some new directions in research on Albanian epic song. Starting from archival materials and the issues they raise for further investigation in the field, it will focus in particular on certain structural elements of the songs related to their performance. The Albanian-language archival materials of the Milman Parry Collection of Oral Literature (henceforth MPCOL), collected in the 1930s by Milman Parry and Albert Lord, provide significant insight into the tradition. The first section offers an overview of the major collections and scholarly research on Albanian epics through the twentieth century, a rich body of work that includes local fieldwork-based studies as well as important foreign contributions, and that documents the geographical scope and contents of the Albanian epic tradition, which constitutes an important part of the oral heritage still alive in Europe today. The second section focuses more narrowly on the materials collected by Milman Parry and Albert Lord in the 1930s, exploring the ways in which those songs as well as the singers’ biographies—which have often been neglected in discussion of the MPCOL—still hold valuable insights for the study of oral poetry more broadly. In particular, this essay explores the implications of the collection process itself, as embedded in recordings and texts from the MPCOL. Finally, the third section summarizes some recent research conducted by the authors focusing on the singer Isa Elezi-Lekëgjekaj, one of the most important living practitioners of this epic tradition. His performances highlight some of the demands placed on the body and the resulting bodily techniques that emerge as part of this performative tradition. 1. Old and New Scholarly Perspectives Epic songs are a fundamental part of Albanian cultural identity. Albanian culture includes two linguistic areas: the Tosk dialect area covers the Southern part of Albania, while the Geg dialects are spoken in Northern Albania, Kosova, and the areas inhabited by Albanians in Macedonia and Montenegro. The practice of epic singing persists most actively in the Geg area, in Northern Albania and Kosova, and especially in specific regions such as Rugova, in Kosova, at the border with Albania and Montenegro. The main repertoire of epics songs is called Këngë (or Kânge, in the Geg dialect) Kreshnike, usually translated as ‘songs of the frontier warriors’; it is also called kënge trimash ‘songs of the heroes’ or kënge të moçme ‘ancient songs’. Both textually and in their performance, Këngë Kreshnike have their own particular traits that distinguish them from other poetic repertoires. [2] They are usually performed by a singer who accompanies himself with a one-string bowed instrument, called lahuta in Albanian. The poems feature legendary characters, dealing most often with the deeds of two brothers, Muji and Halil, their friends and relatives, or other heroes like Gjergj Elez Alia, as they struggle against their enemies and encounter the presence of supernatural elements. The songs are performed during holiday gatherings, social visits to people’s homes, and family celebrations. Research and publications on Këngë Kreshnike date back to the end of the nineteenth century. [3] Besides local collectors, sometimes supported by local institutions, some foreign scholars have also played an important role in the study of the Albanian epics. Indeed, an early 15-line fragment, clearly recognizable as belonging to the Këngë Kreshnike, was published by the Austrian linguist Gustav Meyer in 1897. At the beginning of the twentieth century, complete versions of Albanian epic songs were published thanks to local collectors like Hasan Fejzullahu and Gasper Jakova-Merturi. The establishment of a large corpus of Albanian epic songs is mainly due to the work of the Franciscan friars and Jesuits based in the city of Shkodër. The town served as the old capital of a vilayet during the Ottoman Empire; it was an important cultural center with historical connections to Western culture and Venice and a strong presence of the Catholic church. In Shkodër, thanks to the initiative of the friar Bernardin Palaj, songs identified as Këngë Kreshnike started to appear in the journal Hylli i Dritës (The Star of Light). This journal, founded by Father Gjergj Fishta in 1913, was an important forum for bringing together cultural and political ideas; from the outset, it focused primarily on Albanian history, literature, and folklore, including excerpts of Fishta’s poem Lahuta e Malcís (The Highland Lute). A collection of a substantial number of Këngë Kreshnike, edited by the friars Bernardin Palaj and Donat Kurti, appears in the series Visaret e Kombit (The Treasure of the Nation) published in 1937, the 25th anniversary of Albanian independence from the Ottoman empire; the volume has the title Kânge kreshnikësh dhe legjenda (Songs of the frontier warriors and legends), and includes 34 songs about Muji and Halil. Additionally, important research was carried out by foreign scholars, including (among others) the Austrian scholar Maximilian Lambertz, the Italian friar Fulvio Cordignano, and especially Milman Parry and Albert Lord in the 1930s, whose landmark research is discussed below. After World War II and the establishment of Enver Hoxha’s regime in Albania, local scholars, based in Tiranë and Prishtinë, carried out research on epics with the support of various institutions, like the Instituti i Shkencavet (Institute of Sciences) and the Instituti i Folklorit (Institute of Folklore), which would later become the Instituti i Kultures Popullore (Institute of Folk Culture). This institute created a framework for the study of traditional Albanian folklore, with the aim of building a national culture. The research focused primarily on the collection of texts, published in volumes edited by Qemal Haxhihasani in 1955 and 1966. Later, scholars began focusing on the study of musical melodies too, with a book edited in 1983 by Ferial Daja. In parallel to these local developments, foreign scholars, such as Stavro Skendi and Agniya Desnickaya, also made authoritative contributions that deal in turn with the controversial issue of the relationship between the repertoire of Këngë Kreshnike and that of neighboring Slavic traditions. [4] Meanwhile, research conducted in Kosova is of particular importance in the field of epic. Inhabited by a large majority of Albanians, yet remaining outside the national borders of the state of Albania when it was formed, Kosova was for decades—both before and after the breakup of Yugoslavia—an autonomous province of Serbia, with moments of tension with Belgrade, until its unilateral declaration of independence in 2008. Despite this sensitive situation (which has sometimes hindered the study of aspects of Albanian culture), scholars in Kosova have been able to promote and publish important work. While the Këngë Kreshnike in Albania represents only a portion of the local oral traditional corpus, in Kosova—where the Geg dialect is widely present—the epic is at the center of scholarly research. The institutional base for research on oral heritage in Kosova, including the epic tradition, has been the Instituti Albanologjik i Prishtinës (The Institute of Albanology, Prishtina), which played an important role for decades in the cultural and political consciousness of the Albanians of Kosova. After a pioneering period in the 1950s, the institute began its full range of activities in 1967. Led for many years by the distinguished scholar Anton Çetta, the institute supported the publication of multiple volumes on epic, with research carried out by scholars like Rrustem Berisha, Anton Nikë Berisha, and Zymer Ujkan Neziri. As early as 1953, they began publishing texts of epic songs in the volume of folk songs, Këngë popullore shqiptare të Kosovës dhe Metohisë, with subsequent contributions made by several volumes of Këngë Kreshnike published in 1974, 1991, and 1993. More recently, Neziri has been editing the most ambitious project supported by the Institute, a multivolume study of the epics of the area of Rugova, which remains the principal repository of living tradition to the present. Three volumes have already been published, with two of those devoted to the repertories of individual singers. [5] For decades following World War II, the international isolation of Tirana and Prishtina hindered the circulation of these materials and scholarly discussion internationally. In Albania more recently, important changes have started to emerge in the realm of cultural politics and the activities of local scholars, while scholarly contact with Western countries has also increased. In Kosova, too, from the fall of Yugoslavia to its recent declaration of independence in 2008, an important process of opening and increasing contact with foreign scholars is underway. Local research projects of note, in addition to Neziri’s long-term project, include the publication of other collections of epics and reprints of older collections that are no longer available: in 2008, Anton Nikë Berisha reprinted 51 texts from older collections, and in 2009 Nimon Alimusai republished 20 canonical texts. In addition, books devoted to folk songs and oral tradition (e.g. Krasniqi and Krasniqi 2007) or textbooks for school (e.g. Neziri 1999) include significant parts of epics. The reprinting of the work of the friars of Shkodër, especially the landmark volume of Visaret e Kombit, unavailable for decades, is especially important. Published in 2007 to mark the 70th anniversary of the first edition, the reprint grew out of an initiative of the Franciscan community, still present today in Shkodër, with their important library. A key step in fostering deeper contacts and communication between scholars in Albania and abroad has been the translation of important studies and collections into and from Albanian, such as Stavro Skendi’s book (1954; transl.